April 22, 7:00-10:00PM, doors open 6:15PM
The Lab, 2948 16th Street, San Francisco, CA 94103
Tickets will be available at the door; $5 general, $3 students
Aiming at the clouds.
a ko.incidental documentary take, an (un)usual moment
taken on june 26, 2011 at 2 p.m.
with a normal digital video apparatus
without tripod - without camera moves - without zooming
without special lighting - without extra microphone - without effects
the sound and length of the shooting are the original
there are no cuts in the scene.
With each shot recorded on a different day, this silent portrait of a window cleaner exploits the variable conditions to animate both continuity and change within the repeating patterns of the everyday. It is the surplus of shots not used, therefore, that creates an image of the everyday in passing.
Six million tons, suspended by the slightest gesture. Mother of the World presents a series of brief vignettes of Cairo just prior to the 2011 Egyptian Revolution. These fragmented scenes choreograph class structure and foreign influence into an intimate, poetic view of a nation about to change.
House Fuck is a lust letter to the textures of antiquity, the sensation of home, and the sounds of my radiator. House Fuck is about touching surfaces. House Fuck is an erotic encounter with personal space.
Give us two seconds, and we'll show you the world. Featuring images emblematic of our geopolitical state that flash by in the blink of an eye, "You Suffer?" attempts to fashion a rhetoric to simulate the average first-worlder's relationship to atrocity, geopolitics, and global capital.
I went to record some of the aftermath of the 2011 tsunami in Japan. Seeing the devastation reinforced the privileged position of someone passing through.
A two-channel video installation about the shooting of Gabriel Giffords and its impact on visual culture. By neutralizing compositional elements and landmarks through a kind of re-videography, I touch on our ephemeral media cycle and its relationship to the images and places that unconsciously endure in our cultural psyche.
A ghostly, melancholic adaptation of the Life Cycle Series of educational books for children and parents.
A junkmail melodrama, this piece overlaps two a cappella multi-track recordings of Gerry Coffin and Carole King’s “Will You Still Love Me Tomorrow?” and MC Luscious’ “Boom! I Got Your Boyfriend” performed from memory. Exploiting the homogeneity of popular song structure propagated through top-ten radio hits, the re-preformed combination provides an extra-narrative to the breakup of our collective memory.
“Ghost of Yesterday” – a collage of rotoscoped home movies – is inspired by childhood memories of religion and altered consciousness. The film explores our collective abandonment of analogy imagery and is a personal attempt to reconcile with digital imagery.
A live performance between the singer Jan F. Kurth in a gallery space in Freiburg/Germany and the violin player Harald Kimmig on a donkey cart in Cairo/Egypt is documented on two video monitors facing each other.
A meditation on the effects of displacement, racial difference, and language barriers upon intimate relations. The protagonist moves from city to city, seemingly in an attempt to find the place wherein she might viably act as both subject and object of desire, while narrating her inner thoughts to an unnamed acquaintance.
The Olympian presents a montage of Eugene Sandow, the founding father of modern bodybuilding, and Dorian Yates who is considered to be one of the top professional bodybuilders in history.
28.IV.81 (Descending Figures) is comprised of footage... shot at a performance of Christ's Passion, staged as an attraction at a Florida amusement park. ...[the] use of dual-screen and end flares result in mutual image competition. ...pure filmic light continually disrupts these faux-holy scenarios from coming into being. --Michael Sicinski, Cinema Scope Magazine
Situated at the exact geographic center of Canada, Baker Lake, Nunavut is the only inland settlement in Canadian Arctic. Fixing its gaze on this stark landscape, McIntyre’s haunting and sparse films uses hand-wrought black and white 16mm film in meditation on place and personal histories.
Stepping into the dawn of the bio-tech era, this experimental motionwork moves through aesthetic and conceptual territories within our bared physical scaffolding.
Nudes Descending a Staircase #2 is a video tribute to Marcel Duchamp’s seminal painting, as it fractures, deconstructs and reassembles seven descending men. The processing of the images invokes questions about male nudity and male beauty, as the soundtrack underscores the images with sounds/noise created with ready-mades.
A series of visions relayed through a heightened consciousness. These views frame the shadowy recesses that offer access to the underworld and draw us closer to the presences that lurk beyond these thresholds.
All I have to say about this sad and distressing (and personal) topic. These aren't pleasant things to talk about, so I'll just let the movie do it for me. After all, that's why I made it.
A riff on a Wittgenstein aphorism about conditions required for language to have meaning. Shot at Hollywood Animals, a company that provides lions, tigers, bears, and even hyenas for movies and TV commercials, with the voice of actress Meg Gibson, and an original piano soundtrack by Cas Weinbren.